


Tit for Tat - Teleplay

by dsa_archivist



Category: due South
Genre: Drama, F/M, Gen, Hurt/Comfort, Screenplay/Script Format
Language: English
Status: Completed
Published: 1999-12-25
Updated: 1999-12-25
Packaged: 2018-11-11 00:45:09
Rating: General Audiences
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 15,395
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11137884
Author URL: https://archiveofourown.org/users/dsa_archivist/pseuds/dsa_archivist
Summary: A study of character reversals for Fraser and Thatcher as events unfold.





	Tit for Tat - Teleplay

**Author's Note:**

> Note from Speranza, the archivist: this story was once archived at [Due South Archive](http://fanlore.org/wiki/Due_South_Archive). To preserve the archive, I began manually importing its works to the AO3 as an Open Doors-approved project in June 2017. I tried to reach out to all creators about the move and posted announcements, but may not have reached everyone. If you are (or know) this creator, please contact me using the e-mail address on [Due South Archive collection profile](http://archiveofourown.org/collections/duesoutharchive).

 

amend preface

 

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**Tit for Tat - Teleplay**

by Jean Tryon

<jtryon@aracnet.com>

(c) March 1998

PG-14 for language, sexual innuendo

Categories: Drama, Fraser/Thatcher pairing, Humor

Background for writing this _teleplay:_

This is, indeed, a 'lost episode.' Not being on-line at the time, I had no idea that _Due South_ had been canceled yet again after Season Two, since the episode _Flashback_ (case #140) was not shown in the United States. I was delighted to see Season Three begin, albeit at a weird time, and settled back to watch the benchmark TV series for drama, humor, music, writing, and all things that made _Due South_ the excellent show it was, continue. 

In November 1997, I found myself beginning to analyze it: what made it so good? I began to write an episode in teleplay form that I planned to submit to Alliance for their review, all the while sweating out each week's episode that might destroy the premise of my own work in progress. Finishing in late February, I called Alliance to find out what the procedure was for sending in a teleplay for consideration. Penny MacDonald, Paul Gross' assistant, told me that they were wrapping up the series at that moment and there was no point to accept further teleplays.

Restricted/NC-17 words flashed through my head. I stewed all summer, got on-line, found so many other Duesers who were as inconsolable as I, and discovered _Fan Fiction_. I rewrote Tit for Tat (c) Spetember 1998 into **story** form and it currently resides at  <www.hexwood.com/dsa> the _Due South_ Fiction Archives.

Presented below is the **_teleplay_** format that Alliance would have received. For the uninitiated, teleplay differs significantly from novel format: minimal description and dialogue delivery (to allow for maximum directing liberty), certain fonts, specific indentations, bleed-overs to next page, maximum page count, etc. I had to learn how to do all this, as I wanted to send Alliance a thoroughly professional manuscript. If you just want to read the _story_ , go to _hexwood.com/dsa_. This teleplay is what the cast would have used. The DS time frame is during Season Three after the **_Odds_** episode: Fraser lives at the Consulate and Ray Kowalski fills in for Ray Vecchio.

There may be discrepancies in pagination, _i.e._ if you make a hard copy, your printer may not match mine. The page numbers had to be manually added so that bleed-over problems would be taken care of. Also, in order to post it, the whole thing had to be converted to html. In doing this, there was no possible way 'double columns' (characters' simultaneous 

  


ii

action/dialogue) could be maintained -- they just insist on huddling together near the left margin.Periods have been added to separate the columns in the attempt to override html format. This is the only discrepancy from teleplay format. Many thanks to Anagi @hexwood for the html conversion. After the teleplay, there is an annotation section which explains the 'set-ups', props etc. to allow for continuity and meaning. Alliance would have gotten this section as well.

Finally, the usual disclaimers apply. Characters are the property of Alliance, etc. and I make no money (as much as I would have liked them 

to have used it!) from this teleplay. It may be reproduced for readers' personal enjoyment, but may not be used or reproduced otherwise without my permission. Of course, any comments about it would be gratefully appreciated.

Drum roll...

Scroll screen to title page:

 

DUE SOUTH

"Tit for Tat"

(Teleplay)

written by Jean Tryon

(c) March 1998..................................Jean Tryon

address etc.

<jtryon@aracnet.com>

  


 

1

TEASER

FADE IN

INT. THEATER - NIGHT

A stage from audience POV, LOGAN is center stage and takes bows as the audience CLAPS. The EMCEE enters from the wings to take the floor mike set up on one side of the stage. CAMERA ANGLE slowly swings from front-on stage toward the wing side of the Emcee, to looking past the Emcee, across the stage with Logan bowing, to the other wing. THATCHER is standing in the wing, waiting to be introduced. 

EMCEE

Thanks, Eric. Ladies and gentlemen, let's hear it for one of the upcoming tenors for Chicago Light Opera: Mr. Eric Logan!! Take a bow, Eric.

Logan exits (toward Thatcher) as applause dies down. __

EMCEE (CONT.)

I also want to thank all of you for coming tonight and your contributions to help keep the Theater going. And it's just great that all these people are donating their talent to our fund raiser. Now, I want to present a lady with a beautiful voice. Here's Meg Thatcher.

CAMERA returns to audience POV.

THATCHER

(entering to applause)

Thatcher SINGS a sultry love ballad, wanting someone who is unaware of her feelings, unrequited love etc. 

CAMERA OPTION: computerized audience with one man (face indistinct), dressed in RCMP red serge, multiplied many times to fill all the seats. This camera angle switches from Thatcher on stage to her POV out to the audience.

  


 

2

DISSOLVE TO:

INT. BACKSTAGE WINGS - NIGHT

When finished, Thatcher comes backstage where people, including OTHER PERFORMER (FEMALE), are milling around.

OTHER PERFORMER (FEMALE) ****

WOW! You vamp! You had every man in the audience aching for you. Were you singing to your husband?

THATCHER

I'm not married. The RCMP is my career.

OTHER PERFORMER (FEMALE)

How about a boyfriend out there?

THATCHER ****

No boyfriend.

OTHER PERFORMER (FEMALE)

Come on! All Mounties are gorgeous!That red coat... The wide stripe going up the leg.

THATCHER

Afraid not. Look, I've got to go now. Tell Vince that I was happy to help out in the fund raising. I hope the benefit has raised a lot of money for the theatre.

Thatcher exits.

DISSOLVE TO:

INT. THEATER HALLWAY/BUSINESS OFFICE - NIGHT

In the hallway, Thatcher approaches the darkened office. MUSIC is heard in background as other performers do their bits. Through the window of the door, she sees a flashlight dimly inside the office. She enters and finds at the safe a 

(MORE)

  


3

ROBBER stuffing the benefit proceeds into a tattered gym bag. She tries to stop him. The scuffle has Thatcher and the robber using up a lot of the office space as they grapple: walls, desks, file cabinets.

CAMERA shows all surfaces Thatcher contacts: her bare arm sliding across a desk, a paper weight she picks up to hit him with (which he deflects and it falls to floor.) In the scuffle a sequin from her scarf falls to the floor under a desk. The robber eventually overpowers Thatcher. He gags her, binds her wrists with her scarf and manhandles her out the office door.

DISSOLVE TO:

EXT. ALLEY - NIGHT

As the robber pushes Thatcher toward his old, unwashed junker car, she falls against the dirty car door, slides into a puddle, and soils her dress, arms, face. The robber crams the still struggling Thatcher into the car. As he slams the door shut, she flips the free end of the sequined scarf out of the door jamb. The scarf now drags on the ground. He has some difficulty getting the car started (it backfires and smoke comes from the tailpipe before he gets it going.)

Car moves off.

FADE OUT

END OF TEASER

  


4

ACT ONE

FADE IN

EXT. WAREHOUSE - NIGHT

The robber drives up, parks the car, gets out, goes around to the passenger side, and hauls Thatcher out. Thatcher continues to struggle as the robber shoves her inside.

DISSOLVE TO:

INT. WAREHOUSE - NIGHT

In the dimly lit interior, the robber ties Thatcher's wrists (arms forward) with some rope.

ROBBER

You sure screwed up my plans, lady.

THATCHER

(muffled voice/unintelligible) ****

ROBBER

Don't fight it.

Robber begins throwing the long free end of the rope upwards toward a ceiling beam.

ROBBER (CONT.)

You're gonna be here until I figure out what I'm gonna do with you.

Robber makes another toss with the rope and Thatcher tries to kick him in the crotch.

ROBBER (CONT.)

....(yelp in pain) You bitch!

Robber slaps Thatcher's face, which semi-looses her scarf gag. She continues to struggle and moves her head side-to-side.

  


5

ROBBER (CONT.)

So, that's the way you want to play it.

Robber successfully throws the rope over the rafter and strings Thatcher up so her feet barely touch the floor. He snubs the rope off. The scarf gag falls from Thatcher's mouth.

THATCHER

Fraser!!

Her voice echoes over into the next scene.

DISSOLVE TO:

INT. CONSULATE/FRASER'S ROOM - NIGHT

FRASER, in bed,bolts upright as he hears her call.

FRASER

What was that?... Inspector?

DIEFENBAKER

....(growling, whining)

Fraser goes out into the hallway. 

FRASER (CONT.)

Inspector? .........................

....(reaching her office)...........

Sir?

Fraser returns to his room, looks at Dief who is still muttering.

FRASER (CONT.)

Settle down. I must have been having a bad dream. You're deaf. How could you possibly hear something I was dreaming? ..........................

....(gets back into bed)............

Can you lip read dreams?

FRASER, SENIOR appears and stands over Fraser. __

  


6

FRASER, SENIOR

Son --

FRASER

\--Oh, God. Don't tell me youcan lip read my dreams, too. You know, dad, I've got the right to some privacy occasionally.

FRASER, SENIOR

Of course you do, son. But that's not important right now. What is important is that Inspector Thatcher needs you.

FRASER

It was only a dream.

FRASER, SENIOR

No... no. I heard her. Quite distinctly as a matter of fact. You know she doesn't ask much of you. She relies on you and she is asking for your help. Just as she asked you to give her a leg over.

FRASER

Oh, right. You really had me convinced on that one. I listened to your ditherings and was so embarrassed when she said she meant she wanted to adopt... I'm not going to put myself in that situation again. I suggest you go find someone else's dreams to eavesdrop on.

....(punches pillow)................

I'm going back to sleep.

....(rolls toward wall).............

FRASER, SENIOR

No...no. Hear me out. I am sure--

FRASER

\--I'm ignoring you.

  


7

FRASER, SENIOR

Son, listen to me-- ****

FRASER

\--I'm asleep now.

DISSOLVE TO:

INT. CONSULATE/FRASER'S ROOM - DAY ** __**

At his desk Fraser fills out reports. He becomes more restless as time passes: looks at his watch frequently, gazes into space, paces the room, taps his pencil, runs his hands through his hair. He finally leaves the room.

INSERT INT. CONSULATE/HALLWAY - DAY ****

Fraser approaches TURNBULL who is working at his desk.

FRASER

Turnbull, do you happen to know where Inspector Thatcher is? It's odd that she hasn't come in today.

TURNBULL

Oh, sir, I wouldn't presume to know her--

FRASER ****

\--I'm not asking you to presume anything.

TURNBULL

She never checks in with me. ....(enviously)..................

Does she check in with you? Which would be perfectly understandable with your seniority. But, since she is our superior, I can't imagine why she would check in with anyone... On the other hand, you would think that she is accountable to Ottawa--

 **  
**

8 ****

FRASER

\--Turnbull, I did not want an expository. .....................

....(turning away)...............

I just asked a simple question. Never mind.

RESUME

Fraser returns to his room but cannot concentrate. He throws his pencil down, picks up his hat and leaves with Diefenbaker.

DISSOLVE TO:

INT. SQUAD ROOM - DAY ** __**

In his office, WELSH finishes up taking a report on the phone. __

WELSH (INTO PHONE)

Yes, Ma'am. I understand your concern. I'll have a couple of my detectives come right over. Don't

touch anything else. No, you did the right thing... Yes, Ma'am, it's a travesty... Someone will be over shortly.

Welsh hangs up the phone, grabs his notes and comes out of his office to meet HUEY and DEWEY. 

WELSH (CONT.)

Hey, you two. ......................

....(hands his notes over)..........

Go check this out. ****

HUEY

OK, boss, we're on our way.

Huey and Dewey exit as Fraser and Dief enter. FRANCESCA waylays him.

FRANCESCA

Fraser! You know about color. What do you think?

  


9

She tilts her head upward to show her lipstick and puts her hands to cheeks to show nail polish.

FRASER

About what? (preoccupied)

FRANCESCA

The color.

FRASER

Ah...

FRANCESCA

All you can say is "Ah?" Do you think it goes with this Civilian Aid blue? ..............................

....(pointing to blue top)..........

I've got to do something to jazz up these disgusting, dull rags they make me wear. I have problems with uniforms. They are so... regulation.

FRASER

Since red and blue are primary colours, they do compliment each other... Would you excuse me? I have to talk to RAY.

Fraser approaches Ray who is absentmindedly playing with a cheap toy at his desk.

RAY __

How's it going, Frase?

FRASER ****

I'm not sure.

RAY

Not sure? Since when have you not been sure about anything?

FRASER ****

It's odd...No, not exactly odd, but perhaps a little unusual that--

  


10

RAY

\--Fraser! Spit it out.

FRASER

Well, Inspector Thatcher always comes to the Consulate by oh-nine-hundred. She hasn't come in yet today. Not that she is so anal retentive that she always sticks to her schedule and allows no deviation from--

RAY

\--Oh, for God's sake. What's your point? ****

FRASER ****

My point is: she always has told me if she thought she was going to be

late... Maybe not why she would belate... But that's an entirely different story. And then I had the strangest dream last night.

Ray gets up from his chair and moves to Fraser.

.........FRASER (CONT.)..................................

.....I must have been in deep...............RAY...........

.....REM sleep... you know? ...........(nods Yes and No)..

FRASER (CONT.)

I can't remember exactly what the dream was about, but I distinctly heard the Inspector call out my name.

Ray puts his hands on Fraser's shoulders to shake him and Fraser tries to avoid the contact.

...........RAY.......................FRASER............

...Fraser! Instincts!.........You're not going to hit..

..............................me again, are you? ****

  


11

RAY

Instinct! You're not listening to your instincts. Ever dream about her other times?

FRASER

No... Well, that's not entirely true. Once in a dream she was on this horse and... Ray, I really don't want to go there.

RAY

I bet you don't.

FRASER

However, last night, when I heard her call, I did get up and look around the Consulate, but everyone had gone home. It was quite late. She wasn't there...

RAY

Of course not. She's somewhere else and she called to you. That's instinct, Fraser. Kick that logical brain of yours into overdrive. The Ice Queen calls to you in a dream, obviously needing you for something. Then she doesn't show up for work today. What's the picture here?

FRASER

Oh, dear! Do you really think she is in a predicament? I can't imagine 

she would be in a situation she can't handle...She's so resourceful. But her voice was so clear in the dream. Ray, it-woke-me-up. .........

....(turns, starts wandering out)...

Something may have happened to her.

RAY

Fraser! Where are you going?

  


12

FRASER

Back to the Consulate to check her daily schedule. Perhaps she wrote down where she was going last night.

RAY ****

OK, let's go.

As Dief, Fraser and Ray exit the squad room, there is a role reversal: Fraser makes a wrong turn and Ray has to call him 4-5 times to point him in the right direction.

DISSOLVE TO:

INT. CONSULATE/HALLWAY/THATCHER'S OFFICE - DAY

Fraser and Ray enter. Turnbull is seated at the hall desk.

FRASER

Turnbull, has the Inspector come in yet?

TURNBULL

No, not yet. Is something wrong? Yikes! It's fourteen hundred hours. She's never this late. Good Lord! The Inspector--?

FRASER

\--Calm down. We don't know yet.

....(walks toward Thatcher's office)

Where is her appointment book?

TURNBULL

Oh, Sir. I wouldn't look in her Schedule Book. That's her private affair.

Turnbull follows Fraser and Ray into Thatcher's office. Fraser locates her appointment book on her desk. He opens it and checks the appropriate pages.

FRASER

Nothing here about last night...Just her Consular schedule yesterday. She 

(MORE)

  


13

FRASER (CONT.)

may keep another personal planner at her place for off-duty activities. She is much too organized to not write things down.

RAY

Where does she live?

FRASER

Damn. I don't know. Turnbull, where are the personnel files? I have to get the Inspector's address.

TURNBULL

Sir! The Inspector will be very angry if she learns you have been in those--

FRASER

\--You don't have to worry about getting your own _gluteus maximus_ in a sling with the Inspector. I'll

take full responsibility. It's more germane to find out where the Inspector was last night than be a stickler for protocol. Now, where are they?

Turnbull, continuing to protest, leads them to a file cabinet in Thatcher's office. The top drawer is labeled "Personnel." Fraser opens the drawer, and begins scanning the names on the labels. 

All file folders are neat, contain no more than 10 pages and have a top sheet with the employee's picture, fingerprints and current data. When he gets to his own file, Fraser pulls it out. It is about 5 cm thick, virtually stuffed with papers.

Fraser fans through his file quickly, speed reading.

............RAY.......................TURNBULL...........

...Yo, Fraser, you have.............My word, Sir!........

...quite a record. Lemme.................................

...see.

Ray reaches to take the file from Fraser. ****

  


14

FRASER

No, Ray, you can't see this.

....(pulling file from Ray's reach)

National security. However, I see it is accurate and entirely up to date.

Fraser puts his file back and continues the search for Thatcher's.

FRASER (CONT.)

That's odd. I don't see Inspector Thatcher's file here. It has to be somewhere. There must be some record of her residence.

Fraser and Ray begin to look around the room; ad lib dialog includes each commenting that there must be some record, somewhere that gives Thatcher's address. Turnbull continues to object. ****

TURNBULL

Wait a second. I distinctly recall now that the Inspector mentioned there was a "special file" somewhere. However, she made it quite clear it was to be opened only in dire emergency.

FRASER

That's the ticket. Now, think, Turnbull. Did she say where this file is?

TURNBULL

Let me see... No, I can't recall.

RAY

Think, man!

TURNBULL

I'm trying, I'm trying.

....(looks around office, points to ....another file cabinet)...........

There!Maybe it's there.

All three go in lock step to the file cabinet, try to open it, but it is locked _._

  


15

.......TURNBULL (C0NT.)....................................

....Oh, heck. Do you think we..............................

....ought to break it open?.................RAY............

....But that would be damaging..........(yanking on locked.

....government property....................file drawers)

TURNBULL (CONT.)

Stop! I just remembered that the Inspector said the 'special file' was locked up and that the key is in her desk.

All three in lock step go back to her desk and Fraser slides open the center pencil drawer. He picks up a key. The three in lock step go back to the locked cabinet and Fraser tries the key. It opens.

RAY

Sort of like deja vu all over again, huh, Fraser? We're on another treasure hunt.

FRASER

Something like that. __

Fraser quickly scans the contents of the top 2 drawers. When he opens the third drawer, the only thing in it is Thatcher's personnel file. It is equally thick as Fraser's. He picks it up.

........RAY........................TURNBULL...............

...The mother lode. ...........My word, she's been active.

FRASER

Apparently.

RAY

Come on, Fraser. See what's inside. You read yours. How about a quick peek at hers?

Fraser only opens it to the face page.

FRASER

We're not on a scavenger hunt here, Ray. Just trying to find out the 

(MORE)

  


16

FRASER (CONT.)

Inspector's address. Anything else would be an invasion of her privacy. ....(points to Thatcher's photo)....

It is a good likeness of her, though, don't you think?Ah, here it is. She lives in one of those high rise condominiums on Lake Shore

Drive. Saddle up, Ray. 

Fraser and Ray leave the Consulate.

DISSOLVE TO:

INT. THATCHER'S CONDO/LOBBY - DAY

Fraser and Ray are in a discussion with the building MANAGER (guest cameo of RED GREEN/STEVE SMITH). ****

RAY

So, what you're saying is that you won't let us in.

MANAGER

Of course not. Our tenants pay a high price to maintain their privacy.

FRASER ****

Sir, it is extremely important.

MANAGER

Nothing is that important.

FRASER

She is an Inspector with the RCMP and--

MANAGER

\--The what?

RAY

She's Canadian, you knuckle head... A Mountie... With the Canadian Consulate.

FRASER

And she didn't come to work this morning.

  


17

RAY

Yeah, and there is a missing person bulletin out on her.

MANAGER

Oh?And who filed that?

..........FRASER..........................RAY............

........He did.........................He did............

................(pointing to each other) __

RAY

Do you want to be mixed up in some sort of international incident? Just because you want to stick to your piss-ant rules - whatever they are?Does this mean anything? ..........

.....(shows his badge)

MANAGER

OK, OK. Come on.

FRASER

Thank you kindly.

DISSOLVE TO:

INT. THATCHER'S CONDO - DAY

From the living room POV, the manager opens the door and Fraser and Ray enter. The manager remains in the doorway.

MANAGER

So, don't touch anything.

RAY

Yeah, sure. Like we have a moving van pulled up in back and are just waiting to cart all this stuff off.

Ray closes the door in Manager's face.

CAMERA PANS the scene from Fraser's and Ray's POV. Ray moves forward into the living room which has a grand piano with a few sheets of music laid out. Fraser motionstoward a hallway that obviously leads tothe bedroom area.

  


18

FRASER

I'll check in here.

RAY

....(hint of sarcasm)...........

Right. You do that, Fraser.

CAMERA follows Fraser down the hall to the bedroom and as he enters the bedroom, CAMERA PANS the room from Fraser's POV to show a few pieces of elegant satin embroidered lingerie and unused black stockings on bed.

As he cases the bedroom, he hears Ray picking out a few NOTES of _Heart and Soul_ on the piano - clinkers are heard. Fraser winces with each one. He goes to the walk-in closet containing a fair number of clothes, including 2 red serge uniforms, and deeply inhales at the sleeves of some of her clothes.

FRASER

Yes, she does live here.

Fraser moves over to the king sized bed, smoothes his hand across the brocade bedspread and picks up a piece of the lingerie, smells that, absentmindedly carries it around as he looks at the rest of the room. He finally ends up at her desk, puts down the slip and picks up a leather book (one of two; the top one has the corner of a photo sticking out.) He opens it up to see it is picture of himself in uniform (duplicate of the one in his personnel file) and begins reading:

THATCHER (VO)

\--and how I admire his intelligence, his incredible abilities to solve cases. It all seems so easy for him. I walk such a thin line. Trying to stay a step ahead of him as his superior (but with far fewer skills and even less courage.) Why? Wouldn't I rather have him walk beside me?What am I afraid of? 

I just couldn't go through with it when I asked him to become involved with 'having a child.'

FRASER

....(whisper) Oh, God.

  


19

THATCHER (VO)

Is he pretending he doesn't hear my messages?Or is he just not interested?What does he do in his personal life -- go to a sperm bank? I've never even seen him break out into a hint of a sweat. Would I dare to get personally involved with him? Damn these rules and regulations. And damn Martin in Calgary. Imponderable questions... no answers...

Ray enters the bedroom.

RAY

Nothing out here. Have you found anything?

Fraser, showing guilt, quickly puts the journal down. It remains open to the page he was reading and his picture is beside the journal, not in it. He picks up the lingerie he had laid on the desk.

FRASER ****

Ah... er... I'm still looking.

RAY

Whoa, Fraser. Who's on the scavenger hunt now? I heard about you in drag at that Catholic girls' school. Grazing for new clothes? Think these'll fit?

FRASER ****

These? Er... I'm not doing anything. Ah, here it is! ...................

....(drops the slip back onto the desk and picks up the matching leather daytimer to check the date) She was doing some sort of benefit at the Repertoire Theatre. It says 'Twenty-one hundred hours.' Where is this place?

RAY

Come on, it's not too far from here.

FADE OUT

END ACT ONE

  


 

19

ACT TWO

FADE IN

INT. THEATER BUSINESS OFFICE - DAY

Fraser, Ray and Dief walk down the hall to the office area. The STAFF (#1,2,3) stands around. Ad lib dialog shows the personnel are still shaken. During the entire scene, Dief does his own smell investigation.

RAY

Chicago PD. What's going on here?

STAFF #1

We were robbed last night.

STAFF #2

We called it in this morning...Two detectives came over. ****

RAY

Who were they? They leave their--? 

STAFF #1

\--Yes.

....(hands Ray a business card)....

Here it is.

Ray glances at the card and turns to Fraser.

RAY

Huey and Dewey. How did the Ducks get assigned this case?

FRASER

I don't know, Ray.(preoccupied; turns to survey the office)

In the background, Fraser begins a visual, walk-through assessment of the office as Ray continues to interview the staff.

  


20

RAY

I'll catch up with them later to get your statements. What all did they do while they were here?

STAFF #3

Dusted for prints. Took ours, too.

RAY

Who was here last night? You were putting on some kind of benefit?

STAFF #2

We had many people donating--

RAY

\--Was Margaret Thatcher one of them?

STAFF #3

Yes, I think---

Fraser finishes his walk-through assessment and returns to the conversation. 

FRASER

\--Ray, the Inspector was in here. And something happened to her. I can feel it... I can smell it.

RAY

OK, OK, Fraser. Keep your lid on. I'll call the precinct to see if they've gotten any ID on the prints yet.

Ray uses his cell phone to call the squad room.

INTERCUT PHONE CONVERSATION

RAY (INTO PHONE)

Lemme talk to either Huey or Dewey. No, Francesca, don't put me on hold. OK.... ...Huey!I'm at the Theater with Fraser...Yes, I know it's your case. Do you have any results on the fingerprints yet?

  


21

HUEY (FILTERED)

If it's our case, why do you want to know?

RAY (INTO PHONE)

Because Fraser's boss is missing and we found out that she was here last night.

HUEY (INTO PHONE)

When we interviewed the staff, they didn't mention that.

RAY (INTO PHONE)

Fraser is sure she was here in the office. Might have interrupted the robbery and...

Dewey enters the squad room.

HUEY (INTO PHONE)

Just a sec. Here's Dewey with the results of the print check. I'll put you on speaker......................

....(to Dewey)......................

Ray's at the theater. Thatcher's missing. Fraser thinks she was in the office. Tell him.

Welsh walks by and listens in on the rest of the phone conversation. ****

DEWEY (INTO SPEAKER PHONE)

The prints all check out for the staff. The freshest set of prints on the safe are of a Bobby Solvay. He's a part-time go-fer at the theater--

Ray turns to the theater staff.

RAY

You know anything about Bobby Solvay?

The staff shake their heads "no."

RAY (CONT.)

Would there be any reason for this broom pusher to be here in the office?

  


22

STAFF #1 ****

No reason at all. He did some work on the scenery.

RAY

Bingo. (into phone to Dewey) Who is this guy?

DEWEY (FILTERED)

Has a fairly long rap sheet for car theft and petty robbery. Currently on parole.

RAY (INTO PHONE)

Any other prints?

Fraser now listens closely as Ray shares the phone with him. ****

DEWEY ****

One complete right hand set on the paperweight, unidentified.

FRASER

Ask them where they found it.

RAY (INTO PHONE) ****

You hear that?

HUEY ****

It was on the floor by that desk in the corner.

FRASER

She has played women's softball. Probably used the paperweight to try and hit him.

WELSH ****

Thatcher?

FRASER (INTO PHONE)

Is that you, Leftenant?Yes, sir. She was here during the theft.

  


23

WELSH

Missing?Come on, people, get on this one!

FRASER ****

Ray, let me call the Consulate and have her fingerprints faxed over. Shouldn't take more than 5 minutes.

RAY (INTO PHONE) ****

You got that?Go hatch the fax

machine.

Ray disconnects the cell phone and hands it to Fraser, who begins dialing.

 ****

FRASER (INTO PHONE)

Turnbull?...No, we haven't found her yet. Now listen closely. I want you to get the Inspector's file and... Turnbull! Just go back, get her file and fax her fingerprints to the police station...Do it now, Turnbull............................

....(hangs up, hands phone back to .....Ray)...........................

That man is thicker than two short boards..............................

....(turns to theater staff)........

About this paperweight. Before today, where was it?

STAFF #2

It's mine. I kept it on my desk over there.

Fraser picks it up and places it on the indicated desk. __

FRASER ****

Like that?

STAFF #2 ****

No, it was more in the corner, like this.

FRASER ****

Thank you kindly.

  


24

..........RAY............................FRASER............

....(continuing to glance.........(background)reenact-...

...at Fraser's reenactment).......ment of scuffle scene....

So when did you hire Solvay?......Begins at door, smells ..

..................................tastes all surfaces her..

.......STAFF #1...................skin touched.............

Couple of weeks ago. He...........(OPTION: SOUNDS of the...

just showed up and asked..........scuffle, including.......

for a job.........................Thatcher's gasps as she..

..................................grappled with Solvay.)...

.........RAY......................Picks up the paperweight.

What's your pay schedule..........and sights it to where...

like? He fill out a W-2...........landed under the corner..

form? ............................desk. Realizes it is not.

..................................a straight trajectory;...

..................................he reenacts the de-......

.......STAFF #1...................flection. Bumps into.....

Yes, he did. I'll get it..........Staff #1 as form is......

for you...........................retrieved................

...(goes to file cabinet...................................

to get form, bumps into...................FRASER...........

Fraser)...........................Sorry. Excuse me.........

 _..........._.........................(continued reenactment)

.........RAY............................................... ****

Says here he lives at the..................................

Northridge Towers. Do you..................................

know about that place? It's................................

one of those upscale yuppie................................

apartments. ...............................................

.......STAFF #1...........................FRASER...........

I had no idea. ...................(on hands and knees, butt ..................................in air, reaching under...

........RAY.......................desk to pick up the......

This is so phony!.................sequin).................. ****

....(sees Fraser).......................................... ****

Fraser!....................................................

Fraser gets back on his feet, comes over to rejoin the group and holds the sequin in his fingers.

FRASER

....(turns to staff)...............

Do any of you remember what Inspector Thatcher was wearing last night?

STAFF #2

Some sort of chiffon dress, pink, I believe. With a long scarf.

  


25

FRASER

Any decoration? Beads or sequins?

STAFF #2 ****

Yes, on the scarf.

FRASER ****

Like this?

STAFF #2 ****

....(as Ray's cell phone rings)....

Yes, that's it.

RAY (INTO PHONE)

OK. ................................

....(hangs up, then to Fraser) Print confirmation \- they're Thatcher's.

FRASER ****

I know. She was here during the robbery and tried to stop him.

RAY

How do you know all this? ****

FRASER

Freshness of the scent. It has a definitive half-life and--

RAY ****

\--It's OK, Fraser, you don't have to explain it. I'll take your word for it.

FRASER ****

What is important now, is she was somehow overpowered and taken hostage. The trail goes here....

Fraser heads for the door, goes into the hallway and is so preoccupied with following the scent that he forgets his Stetson. Ray picks it up and eventually will put it in the squad car.

  


26

DISSOLVE TO:

EXT. ALLEY - DAY

Fraser, followed by Ray and Dief, comes out the back door into the alley where Solvay had parked the getaway car. He sees the residue from Solvay's car backfire and lies on the pavement to taste it directly. 

RAY ****

Oh for God's sake, Fraser. I'm going to hurl. That is so completely disgusting. Do you eat with that mouth, too?

FRASER ****

....(gets back to his feet)........

He brought her here... See? Here's another sequin. She's good, very good.

RAY

So why clean the streets with your tongue?

FRASER ****

Because if we have any hope of finding her, we need a trail. Sequins alone may not be enough. His car uses leaded gas.

He begins walking slowly in the direction the car took.

FRASER (CONT.)

Not too many of them around anymore. And it is poorly tuned... probably running on 3 cylinders. The emissions here are the engine's unique combustion signature: the unburned hydrocarbons and various lead compounds... And that one cylinder not working makes it that much more unusual. The trail is as clear as the strobe light guide path at O'Hare International.

RAY ****

So, do it. I'll get the car.

  


27

DISSOLVE TO:

EXT. WAREHOUSE - NIGHT

As Fraser and Dief track up to the warehouse, Ray follows in the squad car. Fraser motions that this is the place. Ray nods and hand signals he will park the car. Fraser goes to a doorway, smells the air sifting out of the door jamb, and waits for Ray. When they join up:

FRASER

She's in there. Fresh scent. Did you see the car?

RAY ****

Don't know what it looks like. Can you tell its color or make by the exhaust trail it left? Or did you just bounce a reality check?

FRASER ****

....(thinks for a moment).........

Right you are. We have no way of knowing that. ****

RAY

This place is pretty deserted, but there're a couple of cars around. It may be around back.

FRASER

So we don't know if Solvay is still in there. Or what condition the Inspector is in. Does his rap sheet include any assault?

RAY ****

The Ducks didn't say... Only mentioned car theft and robbery.

FRASER ****

Take Dief and go around back. I'm going in.

Ray motions Dief to follow. He is last seen, with his gun drawn, rounding the corner of the building.

  


28

Fraser cautiously opens the door and enters. Now he is guided only by Thatcher's scent in the air. Eventually, he begins to hear muffled GASPS and wends his way to the room where Thatcher is 'strung up.' He looks around to check if Solvay is there. When he doesn't see Solvay:

FRASER

....(loud whisper)..................

Inspector.

She struggles to free herself. Now sees Fraser.

THATCHER

Oh, thank God!

Fraser runs over to her and takes his knife out.

FRASER

Here, hold still. I'll cut you down. Steady...

Fraser, face to face, presses his body against hers, holds her steady by putting his left arm around her waist and reaches up with his right hand to cut the rope at her wrists. ****

FRASER ****

What has he done to you?

She almost slides through his arms, but he catches her and lowers her to the floor. She is shaking and crying.

THATCHER

 __I'm so c-c-cold.

Thatcher clings to Fraser's thigh to steady herself as he rips off his tunic. CAMERA-LOW ANGLE FULL SHOT.

FRASER

....(drapes it over her shoulders)

Here, put this on.

They end up sitting on the floor, Thatcher between his legs with her back leaning against him and his arms around her.

FRASER (CONT.)

You're safe now... Are you hurt?

THATCHER ****

What t-t-took you so long?

 **  
**

29 ****

FRASER ****

I didn't know where you were. How clever to lay the sequin trail. You are so brave.

THATCHER

N-n-not so brave as I should have been.

Tears drip from Thatcher onto his tunic. Her mascara has run and there are dirt smudges on her face. Fraser turns her head so he can try to clean her face. As he works on one side, she takes the edge of the tunic to wipe the other side. Dirt, tears and makeup now mark his tunic. He sees the rope burns on her wrist and takes her hand to bring the inside of her wrist closer, almost allowing his lips to brush across the burns, as he looks at them. Thatcher now has turned sideways, her head tilted up, appearing very receptive to having him kiss her. Their eyes meet.

Fraser starts to move imperceptiblytoward her mouth. ****

FRASER, SENIOR (VO)

Not now, son. Don't do it. She's too vulnerable. Think of what she has just been through. Oh, I know she wrote that she wants you... bad. She's a good intellectual match for you, but if you take advantage of her when she's not on an equal emotional footing right now... Well, it's wrong, and you know it. __

Fraser shows some initial indecision, then gives a small sigh. He uses his hand to gently press Thatcher's head to his chest and envelopes her in his arms. CAMERA follows Thatcher's face, which shows disappointment. She blinks back more tears.

GUNSHOTS are heard from outside: the mood is broken as both startle.

FRASER ****

That must be Ray. ****

THATCHER ****

That despicable man left me, hanging here, just before you came in.

Fraser helps Thatcher to her feet.

  


30

FRASER

Come on.

Thatcher is still weak and wobbly as she picks up his Sam Browne and follows Fraser (he is holding her hand), who goes back the same way he came in. 

DISSOLVE TO:

EXT. WAREHOUSE - NIGHT

Fraser comes out the door with Thatcher close behind. She 

lags behind more and more as Fraser runs toward the corner of the building, the way Ray had gone. Fraser comes to within 2 meters of the corner when Solvay, speeding in the junker, rounds the corner. Fraser cannot stop running quickly enough and is hit by Ray's squad car in hot pursuit. Fraser is spun around, thrown violently against the building, his head makes a thud against the bricks and he slumps to the ground _._ Thatcher runs to catch up and sees Fraser being hit.

THATCHER

....(as she bends over him).........

Fraser!! Oh, my God! ...............

....(looks toward the squad car)....

Ray!! You hit him! Come back!

INSERT INT. SQUAD CAR - NIGHT

Ray is at the wheel; Dief is in the back seat and barks, whines, growls, looks often out the rear window. ****

RAY ****

Oh, jeez. What the hell was that?Fraser? Couldn't be... He was inside...Gotta get Solvay. He can't outrun me in that heap.............

....(looks in the rearview mirror that shows Thatcher bending over Fraser)............................

Fraser? Ohmigod, it washim!

Dief now nudges his neck, as if to confirm this; Ray looks ahead.

......RAY................................DIEF.........

...Solvay?..........................Bark! (looks back)

Ray looks in rearview mirror.

......RAY................................DIEF..........

...Fraser?............................(nudges Ray).....

  


31

RAY ****

Stop it, you damned dog!

Ray slams on the brakes, puts the car in reverse and careens back to Fraser and Thatcher.

RESUME EXT. WAREHOUSE - NIGHT

As soon as Ray opens the door, Dief muscles his way out ahead of him and runs to Fraser, who is lying face up on the ground, covered with his tunic. Dief nuzzles Fraser to get up and licks his face. Thatcher takes his neck pulse as Ray approaches. ****

RAY (CONT.)

Is he alive? .....................

....(squats down to join Thatcher)

Tell me I didn't kill him.

THATCHER ****

He's still alive. Has a nasty head wound...See all the blood? Must have hit the wall hard.

RAY ****

How about his neck?

THATCHER ****

I don't know. He hasn't moved.

RAY ****

Oh, jeez! I'll call nine-one-one. ....(takes his cell phone out).....

Wait a minute. He's moving his legs. Fraser!! Fray-zure! Wake up!

Fraser groans in his unconsciousness and starts to move his legs more. He moves his arms enough to brush his tunic off.

RAY ****

Look. What do you want to do? It'll take the paramedics about ten minutes to get here. This is good if he has some kinda spinal injury. On the other hand, he is moving--

THATCHER

\--and he might bleed to death with this head wound in the meantime.

  


32

RAY ****

Not so good. So, you call it: Nine-one-one or we take him in the car?

THATCHER

Let's go. We should support his head as much as possible. That's it.

Ray lifts Fraser up by the armpits and drags him over to the backseat door of the car. Thatcher picks up the tunic and Sam Browne, opens the door for Ray, goes around to the other back door and gets in. They have some difficulty cramming Fraser in - Thatcher trying to pull Fraser into the car and Ray trying to push him in - but eventually he is stretched out on the back seat with his head in Thatcher's lap. He moans occasionally during the process. Thatcher drapes his tunic across him. Ray calls Dief, who jumps into the front passenger seat. Then, seeing Fraser in the back, Dief tries to jump over the seat.

RAY ****

No, Dief, stay here. You can't help now.You OK back there? ...........

....(looking in rearview mirror) ****

THATCHER ****

Good, but he's still unconscious. Go! Go!!

FADE OUT

END ACT TWO

  


 

33

ACT THREE

FADE IN

INT. HOSPITAL WAITING ROOM - NIGHT

Thatcher paces the floor, coffee cup in hand; Ray sits with many discarded wrappers from food vending machines around him.

THATCHER

I can't imagine what's taking so long. They've been working on him for almost two hours.

RAY

They probably have to do a bunch of tests...stuff like that. Relax. He's in good hands. Want a HoJo? .......

....(offers Thatcher something from ....his collection).

THATCHER

Couldn't stomach it. That junk food is terrible.

Ray looks at Thatcher critically, as her dress is blood stained.

RAY

Good God, woman!You're a mess. Is this your Jackie Kennedy impression? ****

THATCHER ****

What?? Oh, I don't care what I look like... Finally! Here comes the doctor.

DOCTOR enters. ****

THATCHER ****

Doctor, How is he? ****

DOCTOR ****

Several things. He regained consciousness shortly after you

(MORE)

  


34

DOCTOR (CONT.)

brought him in. We stitched up his head wound. The scalp has a rich blood supply and, if the skin is broken, it looks like the person is hemorrhaging but it is not as life-threatening as it appears.

RAY

This is good... This is good.

DOCTOR ****

Since he regained consciousness, we did an MRI and a CAT scan, tested his reflexes, and there is no spinal injury. So while he was unconscious, his initial inertia can be explained by the blow to his head. The bad part is that he has had a severe concussion. ****

RAY ****

Wouldn't be the first-- ****

DOCTOR ****

\--Furthermore, he exhibits Dissociative Amnesia.

RAY ****

So, what's this Dissoci-ta-tive thing-ey?

THATCHER

Shut up, Ray. Let him explain.

DOCTOR ****

It's characterized by an inability to recall personal information. He may have dissociated due to a traumatic event or if he were under intense stress.

  


35

RAY

....(aside, to Thatcher)............

See, I told you he was pretty wigged out from the time we got to the theater until he found you in the warehouse.

DOCTOR ****

....(to Ray).......................

As I understand it, you hit him with your car?

RAY ****

Uh, not exactly. I must have clipped him accidentally and it threw him into the wall... er... .............

....(sheepishly) Yeah, I hit him.

THATCHER

How could you have known he was coming?

DOCTOR

Some of the symptoms are: the loss of personal memory, of course, and depression, impairment at work or in interpersonal relationships, sometimes aggression, possibly sexual dysfunction.

RAY

So what you're saying is that he's clueless.

DOCTOR ****

Apparently.

THATCHER ****

Forever?

DOCTOR

Not necessarily. Often times, Dissociative Amnesia lifts spontaneously. We don't know what can trigger the return of memory in these types of cases.

  


36

THATCHER

How long?

DOCTOR ****

Until it lifts? I wouldn't be concerned for 2 to 3 weeks. That will give the brain a chance to heal from the concussion.

THATCHER

And how long will he be in hospital?

DOCTOR

Oh, I think if he stays the rest of tonight. And tomorrow. Barring any complications, he could be released the morning after that.

THATCHER

Thank you so much Doctor. Could we see him now?

DOCTOR

He is being transported up to Room Five-Seventy-Three. Give them a few moments to get him situated and then you can see him. I warn you that 

apparently he's undergone a complete character change. The man you will see will not be as you know him.

Doctor starts to exit.

THATCHER

Thank you again, Doctor. ****

DISSOLVE TO: ****

INT. HOSPITAL ROOM - NIGHT

Fraser, in a hospital gown, sits up in bed. He plays with the TV remote, has the VOLUME blaring and watches an MTV type show; he tries to sing along but is not very successful. His Mountie jodhpurs are laid over a chair. The long johns are folded on the seat. His boots stand beside the chair. Ray, followed by Thatcher, enters.

 **  
**

37 ****

RAY ****

Fraser?

FRASER ****

Yo! Who are you?Wait a sec. I can't seem to get the beat on this song.

.....(tries to tap out a rhythm on .....his thigh)

Ray reaches over to turn off the TV.

RAY

Fraser??

FRASER

....(giggling)...................

That's what they called me in the Emergency Room. I haven't a clue why. Fraser. Benton Fraser. Who would name a kid that? Benton?!...

....(morelaughter)..............

Ben - Ton. Sounds like Chinese soup..............................

....(sees Thatcher)...............

Who the hell are you? My God you're a mess!

THATCHER ****

Fraser, I'm Meg Thatcher. Don't you remember?

FRASER ****

Thatcher... Thresher.Looks like you've been through a threshing machine. (giggling)...............

Ya know, if you cleaned yourself up, you might be able to get off the streets. (leers at her) If you know what I mean. (winking)

THATCHER

....(starting to tear up)...........

Oh, Fraser. Don't you know me? Can't you remember the warehouse?

A comely NURSE enters with medication. __

  


38

FRASER

Now here's a broad that knows how to take care of herself. Honey, when do you get off shift?Want to check out this mechanical bed for me?

NURSE

I don't think so. Just take this pill.

FRASER ****

Your loss, darlin'.

As Fraser takes the pill, Ray pulls Thatcher aside. In the background, Fraser tries to catch the arm of the nurse but she deftly avoids this. When the nurse leaves, Fraser turns the TV back on.

RAY

Don't take it personally, Inspector. Fraser is really out of it, just like the doctor said. ****

THATCHER ****

....(dabbing her eyes)............

I know, I know. I just hate to see him like this. I think we had better leave.

RAY ****

What do you want to do with him when he's released?

THATCHER

I guess you could bring him to the Consulate. I'll have to check with Ottawa. They may want him sent back to Canada... He doesn't have any family, does he?

RAY ****

Don't think so.

THATCHER

That's my point. If Ottawa wants him back, where would they put him?He 

(MORE)

  


39

THATCHER (CONT.)

has no one. Perhaps I can stave them off for 2 or 3 weeks so maybe his memory will be triggered. Keep him at the Consulate. OK... I suppose I should take his uniform back.

....(gathers up the trousers, long ....johns, boots)...............

His hat and tunic are in your car. Can you give me a ride?

RAY ****

Sure. I can do that.

Thatcher and Ray turn to Fraser and Ray turns the TV off.

RAY ****

OK, Fraser. We're going now.

FRASER ****

You, too, Threshing Machine?

Thatcher starts to say something but stops, the hurt showing in her face.

RAY ****

I'll be back tomorrow to see how you are doing.

FRASER ****

....(giggling)..................

Hope you bring a better looking broad than this one.

As Thatcher and Ray exit, Fraser turns on the TV again.

DISSOLVE TO:

INT. HOSPITAL ROOM - DAY

Ray paces around the room; Fraser is in bed. ****

RAY

So, I got the plate number of Solvay's getaway car. They're running a check now.

FRASER

Getting away from what, Bob?

 **  
**

40 ****

RAY ****

Ray.

FRASER ****

Bob? Ray? Bob and Ray?

RAY ****

Getting away from me: Ray. He had taken Inspector Thatcher hostage. You tracked him--

FRASER ****

\--Who's the Inspector? Thatcher? You mean Thresher! From last night.

RAY

You really don't know anything about this, do you?Look-it. Even if you can't remember, you do understand about boss-flunky relationships, don't you?

FRASER ****

Yeah, I guess so.

RAY ****

Well, the Inspector is your boss. And she is a control freak...chain of command stuff.

FRASER ****

OoooKay...

RAY ****

So, if I were you, I'd lay off her. She's a time bomb with a short fuse.

FRASER

Boom!

 **  
**

41 ****

RAY ****

Oh, jeez. Maybe I should have just gone after Solvay and let Thatcher deal with you. I figured you would be able to help me catch him later. You're no help at all. I'm outta here.

FRASER

Boom!! (as Ray exits)

DISSOLVE TO:

INT. NURSES' STATION - DAY

RAY (to NURSE) ****

Lemme use your phone. __

......NURSE..................................RAY........

..Sure. Is this about that .........(nods while dialing)

..guy in Five-Seventy-..................................

..Three? He's supposed to...............................

..be a Mountie?.....................(nods)..............

..That randy creep can't................................

..keep his hands off the................................

..nurses. You know what he..............................

..did this morning? He--................................

RAY (INTO PHONE) ****

\--Hey, Huey. What's the skinny on Solvay's car? Stolen? Why wasn't it reported stolen?... Huh?... Of course it's a stupid question. Who would bother to report that piece of junk had been stolen? Stay on it.

He sees Francesca swinging down the hall and heading for Fraser's room.

RAY (CONT. INTO PHONE)

Look, gotta go. I'll be back to the station in a bit.

Ray hangs up, intercepts Francesca before she enters Fraser's room. Francesca wears her short leather skirt and the blue Civilian Aid top that allows her midriff to show.

RAY (CONT.) ****

Franny! I told you not to come.

 **  
**

42 ****

FRANCESCA ****

Ray, Ray, Ray. Fraser's my friend, too. If he's hurt and in the hospital, I want to see him--

RAY

That's not Fraser in there.

FRANCESCA ****

How bad can it be? And besides, you're not my brother. You can't tell me what to do. Get out of my way.

Francesca goes into Fraser's room. Ray shrugs, throws up his hands, turns and walks down the hall to exit.

DISSOLVE TO:

INT. HOSPITAL ROOM - DAY __

From Fraser's POV Francesca comes into the room by tentatively peeking around the door. Fraser is in bed. ****

FRANCESCA ****

Fraser?

FRASER

Huh?

FRANCESCA ****

How're you doing, Frase? Ray said you were here.

FRASER ****

I'm OK, I guess. Come here.

He opens out his arm and begins to flirt with her; Francesca comes to stand next to his bed.

FRANCESCA

Some kinda nasty cut you have on your head. Does it hurt?

She smoothes his hair, then starts picking at his hospital gown.

 **  
**

43 ****

FRASER ****

It used to, but it doesn't, today.

He reaches out, puts his arm around her waist and pulls her down to sit, facing him, on the bed. Francesca smoothes the sheets next to him.

FRANCESCA ****

Ray said he almost killed you.

FRASER ****

Would that make a difference to you?

FRANCESCA ****

A difference? Of course it would!

FRASER ****

....(puts his hand over hers)......

How?

FRANCESCA ****

Because I care. We've been through a lot together. You've helped me...I've helped you....................

....(she leans towards him slightly)

FRASER ****

Can you help me now?

....(he draws her to him)

They begin a wild grope and kissing scene. ****

FRASER

....(pausing)......................

Who **are** you?

FRANCESCA

It doesn't matter, just kiss me.

....(goes for him again).........

They continue this scene until she is lying face up, with her feet off the bed, and Fraser, half on her, with his legs under the covers, is kissing her. Thatcher enters, carrying his civilian clothes: jeans, plaid shirt, T-shirt, ironed boxers and civilian boots. She throws his clothes (starched boxers flying like a Frisbee) in the direction of the chair and strides to the bed to pry Fraser off Francesca.

  


44

THATCHER

Fraser!!! What are you doing?

Thatcher grabs Francesca by the arms and pulls her off the bed.

THATCHER (CONT.)

You slut.

FRANCESCA

Ouch! ****

FRASER ****

Oh, no! Don't take her away!

THATCHER ****

....(to Francesca).............

Didn't they tell you he is not acting like himself? ****

FRANCESCA ****

He seemed to understand everything we talked about-- ****

THATCHER

\--He doesn't understand anything. Just get out. Get out!!

FRANCESCA

Well, excuuuse me.

....(leaves in a huff) ****

THATCHER

Well, that was quite a scene, wasn't it?

FRASER

Why did you make her leave? Because you're my boss? ****

THATCHER

That much you got right. Look, Fraser. I've called Ottawa and--

 **  
**

45 ****

FRASER ****

\--Why do that? Who do you know there?

THATCHER ****

Just listen. You are a Canadian... A Mountie. At least you were. I called Headquarters and told them what happened. They wanted you sent back there as soon as you are discharged from hospital. They finally agreed to let you stay at the Consulate--

FRASER

\--Consulate? What's a Consulate? ****

THATCHER

The place where you work...You had come to Chicago on the trail of your father's killers--

FRASER

\--My father is dead?

THATCHER ****

Yes, and you have remained attached to the Consulate since then. My point is, there is a better chance of your memory being triggered if you stay in familiar surroundings. I'm the RCMP Inspector there, your superior.

FRASER ****

Inspector _Thatch_ er. ****

THATCHER

At least you remembered that much. Ray will be by tomorrow when you are discharged. I've brought you some clothes. ...........................

....(picks up clothes).............

He'll bring you to the Consulate. Do you understand?

 **  
**

46 ****

FRASER ****

I'm beginning to.

THATCHER

Very good. I'll see you there.

Thatcher exits.

DISSOLVE TO:

INT. SQUAD ROOM - DAY

Ray, Huey, and Dewey sit around; Welsh stands.

WELSH

OK, people. Get moving. The Inspector helped us find Ray and Fraser out in the middle of Lake Superior. We owe her...big time. I want to know everything about the bastard who abducted her: where he lives, where he hangs out, what he has for breakfast, how many sheets ... you know the drill. He may still be in the area. Huey! What do you know about the stolen car?

HUEY

Not too much. ......................

....(checks his notes)..............

It was stolen from a guy named Frank James. ****

WELSH

That's ironic, isn't it? And where does this Frank James live? ****

HUEY

South Chicago. I have his address here. ****

WELSH

So get over there. He may live in the area or be familiar with it, because that's where the car was. He may still be holed up somewhere.

 **  
**

47 ****

HUEY

I'm on it, Chief.........(exit)

WELSH

You say he is on parole?

DEWEY ****

Yeah.

WELSH

Anyone talk with his parole officer yet?

Ray and Dewey shake their heads, "No."

WELSH

Has everyone's brain stopped working around here? Solvay gave a false address when he signed on at the theater. Ergo, he has been trying to dead-end us. He isn't as smart as he thinks he is. His parole officer's got his correct address. Dewey, pay Parole Officer Miller a visit. ****

RAY

Ah, Lieutenant? What do you want me to do?

WELSH

For right now, keep on Fraser's butt. From what you tell me, the Inspector has her hands full. She could use some help. ****

Ray and Dewey exit.

DISSOLVE TO:

INT. CONSULATE/HALLWAY - DAY

Ray allows Fraser (dressed in civilian clothes) to enter first. There is a grandfather clock in the main hallway that TICKS softly in the background. As the consular scenes progress, the ticking sound becomes increasingly louder.

  


48

RAY

Yes, this is the Canadian Consulate. You've been living here for at least a year.

FRASER

Nothing looks familiar. (gazing around) ****

TURNBULL

....(stands as Fraser and Ray enter)

Ah, Sir! It's good to see you back.

Thatcher, who had been at her desk in her office, comes out to greet Fraser. Dief comes running from somewhere to greet him also.

THATCHER

Constable. There you are.

FRASER

Inspector Thres...er...Thatcher.

THATCHER

Yes. Well, I imagine you want to refamiliarize yourself--

....(begins ushering Fraser)....

RAY

\--Fraser, I'm going back to the station. Call me if you need anything.

Fraser nods absentmindedly. Ray exits. __

THATCHER

....(hand gestures)..............

This is my office and our official greeter, Constable Turnbull. ****

TURNBULL

....(gives 'thumbs up' signal)

THATCHER

Our meeting room. The kitchen is back there.

  


49

FRASER

What's upstairs? ****

THATCHER

Bedrooms for visiting dignitaries. Your room is back here. (walks toward back hallway)Here we are.

His soiled tunic which is on a hanger, hangs on a hook near the door (where it was when Denny Scarpa was in his room in **Odds** ) and his cot has a Hudson Bay blanket on it _._

FRASER

So, this is where I have been hanging out?

THATCHER

You don't remember? ****

FRASER

....(laughing)....................

I feel like I'm lost in space. Are you sure you're not some alien that has abducted me? ****

THATCHER

No, Constable. Perhaps, given enough time, your memory may return. Go through your personal possessions here, such as they are. They might be triggers for you.Meanwhile, I have a lot of work to do. Feel free to come and ask, should you need anything. ****

FRASER

I dunno. How can I know what I need if I don't know who I am?

Shaking her head, Thatcher exits.

Fraser starts looking around the room and Dief whines as Fraser idly picks up a few things. The TICKING of the hallway clock is slightly louder. He eventually opens

the closet door. CAMERA OS. The standard 'chant' MUSIC is heard and the viewer sees it leads into Fraser, Senior's room, but Fraser cannot. He pushes his meager clothing around by their hangers; takes a plaid shirt out, holds it up to assess it.

  


50

FRASER

What could I have been thinking of when I got this? Definitely not a babe magnet.

Fraser puts the shirt back, exits to Turnbull's desk.

DISSOLVE TO: __

INT. CONSULATE/HALLWAY/THATCHER'S OFFICE - DAY

Fraser approaches Turnbull's hallway desk. Clock TICKS at the new volume level. __

FRASER ****

So, what do you do for food around here?

TURNBULL

Perhaps you should inquire of the Inspector. __

Fraser wanders into Thatcher's office. She is working intently at her lap top.

FRASER

....(lounging at her desk).........

Er--

THATCHER ****

....(continuing to work without looking up) Yes?

FRASER

Er... well...

THATCHER

....(now looking up) Yes, Constable?

FRASER

I'm getting hungry. What's to eat?

THATCHER ****

I showed you where the kitchen is. It's fully stocked. Go make yourself

(MORE)

  


51

THATCHER (CONT.)

something. I'venever been responsible for putting food on your table before and I'm not about to start.

FRASER

OK, OK, I just wondered.

THATCHER

And by the way, your wolf has refused all the food Constable Turnbull and I offered him while you were in hospital. Even Cheese Doodles. I understand that's his favorite. You had better feed him, also.

Fraser exits. CAMERA stays on Thatcher, who returns to the lap top. The TICKING clock has become louder. CAMERA ANGLE changes so that Thatcher is seen with Turnbull, working at his desk in the hallway - all in the same shot. An EXPLOSION shatters the silence. Thatcher and Turnbull (ad lib dialog that shows their surprise) jump up from their desks and meet Fraser coming out of the kitchen. He has many lumps of white 'glop' spattered on his shirt.

THATCHER

Good God, Constable! What did you do?

FRASER ****

I was only trying to microwave some potatoes and--

THATCHER

\--Did you fork them first?

FRASER

 _Fork_ them? Can you do that with potatoes?

THATCHER ****

Yes, fork them. You know - stab them with a fork so they don't explode in the microwave. .................... ****

....(turns to go back to office)...

Oh, just go clean the place up. Yourself included. You're a mess.

  


52

DISSOLVE TO:

INT. THATCHER'S OFFICE/HALLWAY/FRASER'S ROOM - DAY

As Thatcher works at her desk, a COMMOTION is heard. She follows the sounds to Fraser's room. She opens the door to see him tearing his room apart: throwing storage boxes around, cot overturned, chair broken, etc. As she enters, Fraser with his back to the door, smashes another box.

......FRASER.............................................

...Dammit!...........................THATCHER............

...............................(tentatively)Fraser?....

......FRASER.............................................

...Dammit!! Son of a bitch!..........THATCHER............

...............................(more forcefully) Fraser? ****

FRASER

This friggin' room is a jail cell!

....(smashes another box)

THATCHER

Constable! What are you doing? ****

Fraser turns to face her, eyes blazing, clearly out of control.

FRASER

What?!!

THATCHER

Get a hold of yourself. You're destroying government property.

FRASER

I don't give a rat's ass. I can't stand it.

THATCHER

....(some fear) Fraser, you really can't behave like this. ...........

....(starts to back out ofthe room)

Come on, get some control. Straighten this place up.

CAMERA follows Thatcher past Turnbull (who shakes his head sadly) back to her office to do more work. The clock TICKING is louder in the silence. After a while, she hears a strange SOUND coming from Fraser's room. She gets up.

  


53

THATCHER (CONT.)

Now what?

Thatcher enters Fraser's room. Fraser sits at his desk and is pulling duct tape off the roll (the sound Thatcher was 

hearing) and is taping up the broken desk lamp. All of the storage boxes he had thrown and smashed are taped back into shape and restacked. The entire room is a patchwork of duct tape. ****

THATCHER (CONT.)

I couldn't identify the sound. I see you have repaired all the damage you caused.

FRASER

I cleaned the place up like you asked. What I don't understand is why I'm getting such a kick out of this duct tape.

THATCHER

Fraser, all Canadians love duct tape. Carry on. 

DISSOLVE TO:

INT. THATCHER'S OFFICE/FRASER'S ROOM - DAY

With the clock TICKING louder in the silence, Thatcher works at her desk. She occasionally looks up and listens for any sound of Fraser. Hearing nothing, she returns to work. After the third round of attentive listening in less than one minute, she rises and begins walking toward the hall.

THATCHER

This can't be good. He's got to be up to something.

As Thatcher approaches Fraser's room, she sees the door closed. She quietly opens the door and sees Fraser, facing the wall, on his cot. He is curled into the fetal position with his top arm over his ear, hand behind his head. He is convulsing with sobs. A look of tenderness and sadness comes onto her face. She hesitantly moves forward a step, stops, then backs out of the room and closes the door. Outside his room, Thatcher composes herself, takes a breath and then taps on the door. When Thatcher hears no response, she taps louder. ****

 **  
**

54 ****

THATCHER (CONT.) ****

Fraser?... Fraser? May I come in?

FRASER

....(muffled) Just a minute.

Thatcher waits patiently. Fraser opens the door for her and appears semi-composed.

FRASER

Yeah, come on in. .................

....(walks back into the room ahead of Thatcher and turns to her)

THATCHER

I just was wondering how you are doing.

FRASER

I'm fine, just fine.

THATCHER ****

And I wanted to tell you that I'll be leaving for the day. Will you be all right?

FRASER ****

No problem.

THATCHER

Well, all right. Don't be too hard on yourself; it's your first day out of hospital. The doctor said these things take time.

FRASER

Yeah, if I only had a brain.

THATCHER

Take care. (exit)

Fraser begins to wander around his room again, handling various objects. The clock is TICKING at its loudest now. He finally picks up his father's diary and reads:

 **  
**

55 ****

FRASER, SENIOR (VO)

\--So, there I was, a hundred kilometers from anywhere. The black flies and mosquitoes in a feeding frenzy. I began to ask myself if it was worth it: 'Mounties always get their man.' What kind of motto is that? All I could think of was that Caroline was now dead. God, how I missed her. I missed her quiet laughter -- how her face would light up when I came home, the way she--

FRASER

\--This poor son of a bitch sounds like he was in worse shape than I am.

Fraser, Senior appears behind Fraser.

FRASER, SENIOR 

Son! I was just feeling a little sorry for myself. Your mother just died--

Fraser throws the diary into the wastebasket and gets his leather jacket from the closet. While the closet door is open, the 'chant' MUSIC is heard.

FRASER

Come on, dog, let's go for a walk.

FRASER, SENIOR

Son! It's just as lonely out there as in here!You can be lonely anywhere, if you have a hole in your soul.

As Fraser and Dief go out the door, the CAMERA PANS to the wastebasket and Fraser, Senior has disappeared.

FADE OUT

END ACT THREE

  


56

ACT FOUR

FADE IN

EXT. STREET SCENE - NIGHT

Fraser and Dief walk a street in a seedy part of town. Fraser peers into windows of bars to see the 'good time' activity of those inside, then sadly moves on, stepping around winos with brown paper bags. He approaches two HOOKERS who are waiting to turn a trick. They see Fraser walking toward them. Hooker #1 nudges Hooker #2 to alert her. They are too far away to hear what is being discussed, but obviously their gestures indicate who will proposition Fraser when he reaches them.

HOOKER #1

Hey, big boy! How's it goin'?

FRASER

....(stopping) You talking to me?

HOOKER #1

You bet! Nice dog you got there.

HOOKER #2

....(giggling) You go, girl.

HOOKER #1

Yeah, he seems real friendly.

FRASER

He wanted me to take him for a walk.

HOOKER #2

Wanted to have a good time, then?

FRASER

I think he just wanted to whizz.

HOOKER #1

You lookin' for a good time?

FRASER

What do you mean?

  


57

HOOKER #1

You know, have a few drinks and stuff. My room is just around the corner there. ...................

....(gestures) You wanna come up?

FRASER

I guess so. I'm not doing anything else.

The hookers wait for Fraser to say something else. When he just stands there, they look at each other and silently ask each other the question: "What's with this guy?" They cannot figure him out.

FRASER

So?

HOOKER #2

She's waiting for you to ask how much.

FRASER

How much--?

HOOKER #1

How much you got on you.

FRASER

I dunno. ..........................

....(pats his pockets) I don't have any money. Say, what's this all about anyway? Are you trying to rob me?

HOOKER #2

Honey, what turnip truck did you fall out of?

FRASER

I don't remember any turnip truck. I was just taking my dog for a walk.

Hookers begin to laugh.

  


58

HOOKER #1

That's OK, honey, you just keep looking. When you find it, climb on and go back to Kansas.

FRASER

Kansas? Why are you talking in riddles? ..........................

..(starts to walk on; talks to self)

My brain is beginning to hurt. Dief, do you know what they-- ............

....(voice fades as he moves off)

Hookers watch him go and nudge each other in laughter.

DISSOLVE TO:

INT. CONSULATE/HALLWAY/FRASER'S ROOM - NIGHT

Thatcher, dressed in a low cut evening gown, comes into the entryway.

THATCHER ****

Why isn't the door locked? ........

....(looks around and comes halfway down the hall) Turnbull? Turnbull! Where are you? ....................

....(to herself) I told him to stay and keep an eye on Fraser. As soon as that moron sees it's five o'clock, he vanishes. Good Lord! Fraser??

Thatcher walks quickly back to Fraser's room and continues to call his name, slows up as she enters his room.

THATCHER (CONT.)

Fraser?? I thought he understood he was to stay here. He was in such a state. .............................

....(begins to look around the room)

Where could he have gone? Did he leave any clues?

She starts picking up objects on his desk and putting them down; picks up a large canine tooth and once she realizes what it is, she drops it quickly.

 **  
**

59 ****

THATCHER (CONT.) ****

I don't even want to know how he got that. __

She continues to rummage around until she does a double take as she sees the diary in the wastebasket. She retrieves it and as she opens it, her back is to the door.

THATCHER (CONT.)

Oh, my God! This is his father's diary. Why would he throw--

Jacket in hand, Fraser enters noisily by BANGING the partially ajar DOOR against the wall. Thatcher whirls around, clasps the diary to her breast and looks very startled. Fraser hesitates at the doorway, drops the jacket to the floor, and slowly advances toward Thatcher.

THATCHER (CONT.)

Don't be angry, Fraser. I thought you would be here. I decided to leave the reception early and come back to see how you were doing.

Fraser continues to advance.

THATCHER (CONT.)

....(frightened) Are you angry? Fraser?

She backs up slightly as Fraser not only reaches her but invades her personal space.

FRASER

No, I'm not angry. I believe this is mine.

Fraser takes the diary from her hands. He is so close to her that the exchange is made without either of them extending their hands. Thatcher is trembling. Fraser quickly slides his arms around her and impulsively bends his head down to begin nuzzling her neck. He inhales her scent deeply several times.

FRASER (CONT.)

What is that perfume you are wearing?

THATCHER

The last time you asked me, I told you that I loathed perfume... I still do.

  


60

FRASER

....(still inhaling) I think I remember that. .....................

....(leaves her neck area and slides further down into the bodice of her gown, still inhaling deeply)

THATCHER

Fraser! What are you doing?

FRASER

I'm looking for the hairpin... I recall I dropped it in here somewhere. (continues to inhale)

Before Thatcher can reply, Fraser 'comes up for air' with a look of comprehension.

FRASER (CONT.)

Ohmigod! I do remember! We were handcuffed together on that train. My sense of smell is returning!

Fraser releases Thatcher, brings his father's diary (which he had been holding) up to his nose and inhales. 

FRASER (CONT.)

The man who wrote this was my father. Why would I throw it away?

......THATCHER.........................FRASER.............

...I don't kn--...................(returns to her neck for

...................................another sniff)

He turns to survey the room and begins picking up random objects and inhales deeply - ad lib comments of: "Yes, Uh-huh, I remember that" etc. His movements are so quick that Thatcher is wordless as he comes back to her neck for further inhales.

FRASER

It's your pheromones -- They're 

my trigger.

Fraser looks at his cot, goes over, picks up the Bay blanket and inhales that.

FRASER (CONT.)

HBC--Yellowknife! And, Diefenbaker, despite my telling him not to, has been on my bed. He's a wolf, not a lap dog.

  


61

THATCHER

Half-wolf, Fraser--

Fraser returns to her neck for another sniff.

FRASER

\--Let me have another smell for reinforcement. I should have picked up on that.

Fraser continues to survey the room and sees his soiled tunic hanging by the door. He goes to retrieve it and smells the spots of mascara and tears she left on it. As he returns to Thatcher, he tentatively licks the spots and shakes his head, 'No' - as in non comprehension, he can't "read" it yet. He holds the tunic in front of him and very close to Thatcher.

FRASER

I think these are your tears, but I'm not sure -- Something happened, didn't it?

THATCHER

....(quietly) Yes.

FRASER

Inspector?...(softer)...Margaret?.......(softly)...Meg?

He puts his arms down to his side and allows the tunic to brush the floor as he holds it with the hand that is closest to the CAMERA-LOW ANGLE FULL SHOT.

FRASER (CONT.)

Oh, God, Meg. I remember now I told you I could not erase from my memory the "contact" we had on the roof of that train. It's the taste of you. You are my trigger.

THATCHER

I am? For your taste? How can--

FRASER

\--I can't explain it. I remember that I was able to track you to a warehouse or someplace... Your pheromones have triggered the return of my sense of smell. I need you to help me get my taste back... and maybe my full memory too.

  


62

THATCHER

Full memory?

FRASER

Oh, God. Yes, can't you see?

THATCHER

And you will stop acting so weird?

FRASER

Uh-huh.

THATCHER

Back to the normal Fraser, Fraser?

FRASER

Uh-huh. Trust me.

THATCHER

....(equivocating) Er -- I don't know... full memory?...(less hesitant) well...all right. (begins to tilt her head upward)

Fraser drops the tunic to put his arms around her, moves toward her mouth but stops short.

FRASER

....(whisper) You're sure?

Thatcher nods slightly and the kiss begins. The prolonged kiss scene is intense, sensuous and sexual. Thatcher assumes a totally submissive posture (unlike the train kiss where she showed equal participation because she had her arms around his neck.)Here, Fraser is totally in charge. The most Thatcher can do is put her arms around to his back (CUT to wide enough shot to show her clutching at the back of his shirt as she responds.) As Fraser becomes more intense:

FRASER, SENIOR (VO)

It's all right now, son. Let nature take its course.

Light sweat appears on Fraser's brow as he eventually 

(MORE)

  


63

maneuvers Thatcher to body-pin her to the wall. As he has her pinned and is going back for another deep kiss, he moans, slides his mouth on to her cheek, and slumps against her with a shudder.

FRASER

....(gasping) Oh, God...

THATCHER

....(reeling) Fraser?

Fraser groans again. Thatcher extracts her arms from his embrace, but remains body-pinned.

THATCHER

Fraser?

FRASER

Ohmigod, I am sorry. ...............

....(pulls his face off her cheek to address her directly) I am so sorry.

THATCHER

Fraser, what's wrong?

FRASER

....(highly emotional)......... Everything... Everything's wrong.

THATCHER

Why? What's going on?

FRASER

Oh, Sir, I'm _so_ sorry.

THATCHER

Sir? You're calling me 'Sir' after a kiss like that?

FRASER

....(on the verge of tears) ......

I have no excuse for what I just did-- No control.

THATCHER

Why do you think you need an excuse?

  


64

FRASER

You don't know. How can you ever forgive me?... I can't forgive myself. ...........................

....(lowers his eyes for a moment)

I just kissed my self-respect good-bye. How could anyone respect or trust me now?

THATCHER

I don't understand... no self-respect for kissing me?

FRASER

I lied to you.

THATCHER

Lied?

FRASER

Yes, lied. I was putting my own needs first... trying to regain my sense of taste and my memory. And I asked you to trust me and--

Thatcher reaches up to cup his face in her hands and runs a finger through the sweat on his forehead 

THATCHER

\--Ah, Fraser, you do sweat.

FRASER

....(pulls back slightly)........

W-w-what?

THATCHER

Fraser, I know you were in my condo for a very good reason. I also know that you read something that you had no business reading and--

FRASER

I didn't mean to... totally inadvertent... it matched your day-timer.

  


65

THATCHER

It's all right. It's really OK.

She takes her hands away from his face and puts them over his shoulders; his hands are now around her waist.

FRASER

No, it's not. What I am trying to tell you is that while I had no memory, I did remember what you wrote because, just now, when I asked you to trust me, and imposed this...ah...this osculatory exercise on you, I was driven by more than just regaining my sense of taste. And, I was remembering all the... er...urges I have been having since you and Ray took me to hospital. I was so wrong to ask you to trust me. You can't trust me. No one ca--

THATCHER

(sadly) --Fraser, don't do this. Please don't.

FRASER

I am so totally disgusted with myself... so ashamed. I've been acting like those American Presidents. What total disrespect for you as a person and as my superior... for the RCMP code. Honesty and integrity? God! I've disgraced the uniform. I have to resign... I must--

Thatcher momentarily puts her index finger to his lips to stop him.

THATCHER

\--Fraser, do you think for one moment that the guilt is entirely one-sided?

FRASER

Of course I--

THATCHER

\--Do you remember what else I wrote in my journal?

  


66

FRASER

What are you talking about?

THATCHER

Martin. In Calgary.

FRASER

What do you mean?

THATCHER

That man was my worst nightmare. I can hardly talk about it...(tearing up)...I was new to the posting...not too sure of myself. He wouldn't leave me alone. He made it quite clear that I was going nowhere in the RCMP unless...(gulp)...unless I accepted his advances. I tried to avoid him for months. He finally cornered me...alone. I fought him off but he warned me that I had better not say anything because he would deny it...(now crying)...I couldn't take it any more. I was so angry. I still am. I filed a sexual harassment charge against him... I had to. It was ghastly. You saw how thick my personnel file is?

Fraser nods 'Yes.'

THATCHER

That's why. As my superior, he tried to take advantage of me to fulfill his own lust. Fraser, I'm no better. What I wrote in my journal about you was private; I never intended to let you know about it. Yet, when you asked me if you could kiss me, I couldn't say no... I wanted you... I ached for you.

FRASER

Ummm.

THATCHER

So, don't start taking on all of the guilt here. I used you, too. And for that I am deeply ashamed. Tit for Tat, I think we're even up on this.

  


67

FRASER

....(presses his forehead to hers) It's poison, isn't it? We're poison... for each other.

THATCHER

(disengaging head)I don't know. I really don't. But you can't resign. 

If you do, then I must. It's only fair. And besides, too many people are relying on you. Look at Ray. He desperately needs you help to find Solvay. I want that bastard caught too. Will you do that for me? Please?

FRASER

(whisper) Yes... Yes, I will. But, how can we put this behind us? I won't be able to forget your--

THATCHER

\--I won't be able to forget either. But no one need know how your memory was triggered to return. That's between you and me, Fraser... Welcome back... I've missed you... In the meantime, how 'bout losing the five o'clock shadow and suiting up?You're on duty for the rest of the night.

Fraser gently gives her a short, sweet kiss, looks at her intently.

FRASER

....(softly) Understood.

FADE OUT

END ACT FOUR

  


68

TAG

FADE IN

INT. SQUAD ROOM - DAY

Welsh, Huey, Dewey, and Ray are conferring in the middle of the room.

WELSH

What's with this guy Solvay?

DEWEY

....(scratching his head) ......

Chief, all our leads evaporated.

Fraser enters and joins the conversation.

........HUEY..............................RAY.........

..Hey, Constable, welcome .............--Fraser! .....

..back. We've--

WELSH

Nice to see you back, Constable. We were just trying to figure out--

FRASER

\--You haven't found Solvay then?

RAY

Nope.

WELSH

He didn't spend much time in that dump of an apartment of his--

DEWEY

\--And we don't think he had any accomplices in the Theater heist.

WELSH

The only thing we found out is that a couple of hours ago, his getaway car was found abandoned in International Falls and--

  


69

FRASER

\--Yes, it would take him about that long to drive there. I imagine he would have wanted to obey all traffic regulations, so he wouldn't call attention to himself.

RAY

So, if he didn't have any friends...Why would he head to Canada?No connections, nothing. How're we gonna find him in that trackless wilderness?

FRASER

It's very logical, Ray. International Falls is not a very busy border crossing. He probably thought he could casually cross into Canada on foot.

RAY

But why Canada?

FRASER

Solvay escaped to Canada because even the lowest, most vile thief knows how favorable the exchange rate is on the American dollar. Once across the border, he will make the exchange and end up with a fortune, by Canadian standards.

RAY

So, how to find him?

FRASER

(turning to Welsh) Leftenant, I suggest someone call the Consulate to get the phone numbers for the RCMP detachments in Winnipeg and Western Ontario. FAX Solvay's description and photograph to them. They in turn will distribute the information appropriately to banks and currency exchange centres. Solvay will be apprehended in short order.

  


70

WELSH

Thank you, Constable. As always, you come through.

The group breaks up and Fraser and Ray start walking toward the hall.

RAY

Ya know, Frase, you are a real piece of work... I'm glad you're back. You OK now?

FRASER

Yes, now... but when I had the amnesia--

They pass by Francesca, who overhears.

FRASER (CONT.)

\--I did some terrible things--

FRANCESCA

....(under her breath) ........

Well, I didn't think so.

FRASER

\--Terrible things.

RAY

Did the Ice Queen find out?

Fraser stops abruptly to give Ray a hard look.

FRASER

Ray, she is not an Ice Queen.

He resumes walking. Ray puts his arm over Fraser's shoulder.

FADE

RAY

Yeah, women. If you ever figure them out, tell me. I got problems, too.

FINAL FADE OUT

END TAG/EPISODE

  


A-1

 **Annotation for TIT FOR TAT - Teleplay _by Jean Tryon_**

 

 ** _Teaser_**

The theater benefit provides Scott with a believable setting (in keeping with Thatcher's character) for having the chance to sing ( _reference to being cast as an entirely different character for the **Dr. Longball** episode._ )

 

Stage setting is plain curtain backdrop. Depending on the music Thatcher will sing, musicians are already in place. Thatcher's singing talents as an RCMP could be the corny basis for her and Fraser singing a duet _a la_ Nelson Eddy and Jeannette MacDonald in another future episode.

 

The computer enhanced audience shot and subsequent dialog with the other performer establishes the fact that Thatcher just may be interested in an unidentified Mountie, but she does not want anyone to know this (set-up for Fraser reading her journal at her condo.)

 

Her dress (sleeveless with high jewel neckline) is light pink (set-up for Ray's remark in the Emergency Room waiting room) and absorbent for blood (when Fraser is injured at the warehouse.)The dress accessory is a long scarf with sequins on the hems (set-up for her leaving a trail for Fraser - from the theater to the warehouse.)

 

Thatcher has always been portrayed as something of a control freak (tie-in to her journal), especially in dealing with Fraser. Her shorter haircut for the '97-98 season does not detract from her control issues, but her makeup does. Her makeup (especially a darker shade - but not garish - of lipstick) for this episode should be for a mature woman, rather than having her appear child-like.

 

 ** _The Warehouse_**

Thatcher's struggles show her confidence and RCMP training. This drains away as she loses the fight. She automatically turns to Fraser for help, since it has been established that she admires his courage and bravery.

 

 ** _Fraser's Room_**

When Fraser, Sr appears, Fraser chooses not to listen to him because he has no evidence that his father is right (which he is, as shown by Thatcher's journal and her admission to Fraser after the kiss). Fraser is working from a logical, cognitive viewpoint; he shows his irritation at Dad for always trying to tell him what to do. 

 

 ** _Consulate \- Day_**

Fraser's agitation demonstrates that although his consciousness tells him nothing is wrong, his subconscious is in high gear.

  


A-2

**_Squad Room_**

Unknowingly, Welsh assigns the Ducks to the case. This allows the full cast to be in on the action, since Fraser is put _out_ of action (with injury at the warehouse.)Ray provides Fraser the insight to allow his subconscious concern to surface ( _specific reference to Teaser - **Mountie on the Bounty, Part 1**_.)

 

The Francesca aside reinforces the idea that she is in love with Fraser (set-up for the grope scene with Fraser in his hospital room.) However, thus far, Fraser has been attracted to emotionally unavailable women ( _e.g._ the **_Bounty Hunter_** or country singer, Tracy Jenkins) or those who have a much lower ethical code (e.g. **_Victoria_** or seemingly to Denny Scarpa in **_Odds_** ). He has to link with a woman who is his intellectual equal. Francesca doesn't qualify. Psychologically, Fraser must be challenged on a cognitive level. Otherwise, he would end up in a dysfunctional relationship and unhappy. The woman also has to have similar ethical standards. Thatcher qualifies, to a point. It is explained in her journal why she has been sleeping around; Fraser finally understands this. 

 

 ** _Consulate \- Search for Thatcher's file_**

The klutzy characterof Turnbull is highlighted, as well as his deference to Fraser and his fear of Thatcher. The difficulty in finding Thatcher's file is a clear indication of her need to control, wanting to remain detached, and maintaining her privacy.

 

 ** _Thatcher's Condo_**

Convincing the manager to let them in shows that Fraser and Ray are working well together: a true partnership. Also, Thatcher's condo should reflect her necessity to keep things well under control:large picture windows that overlook the lake; grand piano in living room; furnishings are definitely not "frou-frou" but this, in no way, detracts from her femininity; modern, a few Canadian artifacts, warm and comfy.

 

It is by unconscious "accident" that Fraser ends up in Thatcher's bedroom. This is the set-up for him to get reinforced by her smell (carries over to last scene when Fraser gets restored) and to read her diary, which explains much of her behavior toward him. Her musings ask the question that every viewer (and Ray) has been wondering about. She has the opportunity to expand on this in the kiss scene.

 

 ** _Theater Business Office - Tracking Thatcher_**

Tie-in to getting the Ducks active on the case. Fraser's tracking skills, extraordinary sense of taste, smell, deductive reasoning are highlighted.

  


A-3

**_Warehouse \- Thatcher's Rescue_**

Having Ray remain outside is the set-up for the end of this scene. It is important that Fraser alone rescues Thatcher, who is now totally vulnerable, as her control issues have vanished.The shot of Thatcher clinging to Fraser's thigh as he takes his tunic off is a parody of Romance Novel book covers. Fraser, now knowing Thatcher's true feelings about him, is ready to respond to her. He doesn't want to listen to his father's advice (even though he knows Fraser, Sr is right). He eventually keeps his ethical standards and does not act on his impulses. Draping his tunic over Thatcher's shoulders is a set-up for the taste restoration. Also, the absence of his Stetson (it remains in the car during Fraser's tracking) enhances the intimacy of this scene.

**_Hospital/Fraser's Behavior_** **__**

The physician's dialog about Fraser's condition (reference: _Diagnostic and Statistical Manual for Mental Disorders IV_ ) explains why he now acts as he does (has the viewer's "permission") until midway through the kiss scene:

 

A. Unleashed libido and randy as hell (dissociative amnesia can cause sexual dysfunction; for Fraser, his urges come to the surface, rather than being repressed, _i.e._ his dysfunction is the reverse situation.)Remaining unshaven gives the impression that his virility is increasing.

 

B. Smart-ass dialog, as his rigid codes of conduct, courtesy, and respect are nowhere to be seen. It is important that Fraser not assume his respectful stance (hands clasped around his back) when dealing with others. Rather, he verges on swagger, hands on hips or hooked over the waist of his jeans.

C. Aggression \- when Fraser trashes his room in anger. Thatcher, although she feels threatened by his outburst, tries to maintain control.

 

D. Depression/despair is shown when Thatcher comes upon him as he is convulsed with sobs. She recognizes his vulnerability now and is very careful to insure that he does not know she has seen this. This will help him 'save face' after the kiss. She does not take advantage of his vulnerability, just as he did not take advantage of hers when she was rescued.

 

E. Loneliness \- In many episodes, Fraser has shown how lonely he is. This becomes agonizingly clear as a manifestation of his depression - at the Consulate. His father, who is right about most things, tells Fraser that escaping his "cell" (his room at the Consulate) is not the way to resolve this issue. Rather, he must look inside himself; get out of his head and get into his heart.

**_  
_**

A-4 ** __**

Fraser's uncharacteristic behavior gives way to agony and despair as time drags on at the Consulate. These scenes are diametrically opposed to the

series in general. Instead of action-packed events shown at a rapid pace, it is the **_absence_** of action that allows the viewer to feel empathy for Fraser, who is in a mindless timewarp. The clock tickingreinforces Fraser's sense of helplessness that he can do nothing to regain his memory as he wrestles with his internal emotional conflict. When he leaves the Consulate, it is without the hat - he doesn't deserve to wear any part of the uniform, and is the set-up to having no money when the hookers proposition him.

**_Squad Room_**

This "cop talk" is designed to contrast Fraser's inaction with the investigative process. All leads turn up negative (implied) and it will be up to Fraser to provide the solution.

**_Consulate \- Fraser Restored_**

The episode comes to conclusion when Fraser and Thatcher end up "feeding" off each other (thus the title _Tit for Tat)_ by:

 

A. Fraser had rescued her, and now she restores his smell, taste and cognitive abilities. When he brings the soiled tunic to her, shows a very open body stance, and asks permission to kiss her, it is symbolic that the RCMP red serge ( _i.e._ the moral and ethical rules of RCMP conduct) is the only thing that stands between them and their passion.

 

B. The more subtle joke is on the viewers: as passionate as the kiss is, what was happening to Fraser was not what they assumed (or maybe it was!), given how randy Fraser had been acting. Specifics for this scene are in the script to maximize the psychological subtlety of the joke (and pass censorship.) The viewer is strung out as long as possible, until Fraser finally tells Thatcher what _really_ is wrong.

 

For those male viewers who don't get the joke, at least Fraser took control for a change. He finally was proactive instead of reactive with a woman - someone who is emotionally available and his intellectual equal.

 

For those female viewers who don't get it, Thatcher finally got Fraser to respond to her. However, when Thatcher reveals she had to file the sexual harassment suit, the question finally is:Is Thatcher really emotionally available, or does she carry so much baggage that she can never let her guard down, become vulnerable herself, or give up her need to control?

 

The final short kiss that Fraser gives Thatcher has many subtext possibilities. It could signify:

 

A. He kisses her with full respect, not based on his sexual urges.

  


A-5

B. His thanks to her that she wished to share the guilt.

C. It allowed him to 'save face,' since she "ordered" (taking control again) him to suit up.

D. It opened up the possibility of their having a relationship.

E. A 'good-by' kiss to whatever might have been between them will never materialize now (why he said, "We're poison for each other." _i.e._ , they _each_ have too much baggage.)

 

Any or all of these possibilities could be used in future episodes.

 

PS: _Call of the Wild_ substantiates the idea that Fraser and Thatcher ended up having some kind of relationship before the series ended. The writers just didn't show this; it was left on the subtext cutting room floor. To paraphrase the snowy camp scene:

 

THATCHER

But I know that this is where you belong.

 

FRASER

Perhaps it is.

 

THATCHER

Then **this may be the last time**... Maybe we could...

 

FRASER

Maybe we should...

 

Canadian version of Fraser and Thatcher beginning to kiss. CUT to Buck Frobisher howling like a wolf.

_We don't see Fraser leading Thatcher off to melt a snowbank!_

 

THE END

 

<jtryon@aracnet.com>


End file.
